Archival Methods Bloghttps://www.archivalmethods.com/blog
Archival Storage and Presentation Information
Mon, 25 Mar 2019 15:44:46 +0000 en-US
hourly
1 https://wordpress.org/?v=5.1.1Beyond “Photo-Safe”…What Does it All Mean?https://www.archivalmethods.com/blog/beyond-photo-safe-mean/
https://www.archivalmethods.com/blog/beyond-photo-safe-mean/#commentsWed, 19 Sep 2018 19:11:26 +0000https://www.archivalmethods.com/blog/?p=18740This blog was written for the Association of Personal Photo Organizers. Archival Methods is an APPO industry partner, and a sponsor of their annual Save Your Photos Month. Why do these terms matter? Photo-safe. Archival. Acid-free. These are just some of the terms that are used when describing products in the photo industry…but what […]

Why do these terms matter?

Photo-safe. Archival. Acid-free. These are just some of the terms that are used when describing products in the photo industry…but what do they really mean? And why do we need to bother with them?

As anyone with a magnetic-page photo album from the 1980s knows, the way we store our photographs matters. The cheap cardboard pages, the adhesive, and the plastic covering all give off acids that over time, deteriorate the photos’ color, leave stains on the backs, and make it hard to remove photos without damaging them.

Older albums with vintage photos, photos stored in envelopes from the photo lab, and those just in a shoebox are at risk, too. And it’s not just prints – slides, negatives, and film reels can be damaged just from the containers they are stored in.

Lignin is a naturally occurring acid that is often present in the wood pulp used to make paper. The yellowing and brittleness of old papers (especially newsprint) is due to lignin and other residual acids activated by humidity and temperature in a process that often ends up destroying the paper itself. Beyond the paper, the tapes, glues, and even photo corners that were used to attach photos to album pages are off-gassing chemicals that discolor and damage photographs.

The good news is there are materials that are much safer for photographs.

Some definitions

If you are concerned about saving your family photos, you are dealing with their preservation. PRESERVATION is the act of preventing or neutralizing the deterioration of objects through proper storage and handling techniques. If you have photographs that are damaged and require repair, you should seek the advice of a trained conservator. CONSERVATION may include the stabilization and restoration of an object.

ARCHIVAL describes something that is of the quality suited to the needs of an ARCHIVE, an accumulation of primary source records, retained for their historic or cultural value. Museums, libraries, and art galleries are concerned with archival materials, and many photo-related products in the consumer marketplace are labeled “archival.”

Unfortunately, there are no official standards for what makes a material archival. However, for paper products, acid-free and lignin-free are two of the most common attributes.

ACID-FREE paper is made from pulp with a pH above 7 and often BUFFERED with calcium carbonate to neutralize acids formed with aging, or absorbed from the object.

[UNBUFFERED paper, without the calcium carbonate additive, should be used for storing dye transfer prints and cyanotypes; their image surface can be harmed by alkalinity.]

LIGNIN-FREE paper is made with less than 1% lignin content. “Acid-free” doesn’t always mean lignin-free, so any archival-quality product you choose should specify both.

When it comes to plastic enclosures, “acid-free” does not apply; instead, materials should be inert and stable. Lesser quality photo storage supplies are often made from polyvinyl chloride (PVC, or vinyl). Plasticizers make this compound unstable, and it deteriorates quickly, damaging photos. Instead, look for materials made from one of these inert plastics: POLYESTER (MYLAR), POLYPROPYLENE, and POLYETHYLENE.

Photo-safe testing

PHOTO-SAFE is another term that is commonly used for photo albums and other photo products such as paper, plastics, and adhesives. It also has no official standard, and therefore one should not assume that it truly means what it says.

Currently, the only standardized test for long-term photo-safe materials is from the Image Permanence Institute, an organization dedicated to the development of best practices for preserving images and cultural heritage. Their Photographic Activity Test (PAT) is an international standard test (ISO 18916) that explores chemical interactions between photos a given material, such as paper, inks, adhesives, photo albums, scrapbooking supplies, framing components, etc.

Materials passing the PAT can be considered photo-safe. However, passing the test does not indicate a material’s pH or lignin content; there are also standardized tests for these. A good archival supply manufacturer will provide all of that information.

Specifications for Archival Methods’ interleaving paper.

While the focus here is on photographs, it’s worth noting that if a material is considered photo-safe, the implication is it will also interact safely with other objects. The recommendations for storage solutions in the next blog post apply not only to photographs, but to newspapers, documents, artwork, and other heirlooms and memorabilia.

]]>https://www.archivalmethods.com/blog/beyond-photo-safe-mean/feed/4Welcome to Our New Locationhttps://www.archivalmethods.com/blog/welcome-to-our-new-location/
https://www.archivalmethods.com/blog/welcome-to-our-new-location/#commentsThu, 02 Aug 2018 15:51:44 +0000https://www.archivalmethods.com/blog/?p=18703In late June, we embarked on a move to consolidate all of our business operations under one roof. Our expanded space keeps us in Rochester, and will allow for greater capacity to develop new products and explore new collaborations with other firms. Not our first rodeo Archival Methods has quite a history of moves; hopefully […]

In late June, we embarked on a move to consolidate all of our business operations under one roof. Our expanded space keeps us in Rochester, and will allow for greater capacity to develop new products and explore new collaborations with other firms.

Not our first rodeo

Archival Methods has quite a history of moves; hopefully this most recent one will be the last for a long while! Founded in 2002, Archival Methods’ original location was on University Avenue in Rochester. After just one year in business, it was necessary to find larger space on Middle Road in Henrietta. The next year saw an expansion into more suites in the Henrietta location, and by 2011, the warehouse and offices moved across the street to a brand new building. As our production needs changed, our manufacturing operations officially opened in a separate space on Middle Road in 2015.

As we added products and increased our customization work, our space in both Henrietta locations was getting tight, and operations logistics unnecessarily complicated.

Crowded aisles in manufacturing

No room to grow!

To keep pace with our growing company, it became necessary to consolidate into larger space once again. On Driving Park Avenue, we are sharing a commercial building with Book One, a local publisher, and have renovated and retrofit the space for our office and manufacturing equipment. By combining these operations into one space, we can take advantage of increased efficiencies that will benefit our customers.

New floors and paint in the lobby

Warehouse ready for move-in

Everything under one roof

Now that all of our raw materials and products are in the same building as our shipping center, we will have faster turnaround times. Our expanded location is better suited for our increased customization work as well. We have always offered custom matboard and frames, and are doing more custom boxes and binders. Look for an upcoming blog post about our new capabilities. We are also looking forward to new collaborations with other local businesses.

Shelving filled in the new warehouse

Workstations up and running

New manufacturing area

Archival Methods President, Dennis Inch notes, “seven moves or expansions in 16.5 years (about once every 2.5 years on average) you think we would be used to it by now! It is never fun or easy but it is absolutely essential to continue serving our customers with the high standard they deserve and we are committed to providing.”

As of August, we are fully up and running at the new location. Thanks to all our customers for their patience as we settled into the new space, got phone lines up and running, and resumed our normal shipping schedule.

Old Photos & Heirlooms: Safe Alternatives to Basement & Attic Storage

Archival Binder Pages & Collector Grade Binders are perfect for elegantly storing old photos on shelvesin your home or office, avoiding the many risks associated with storage in basements & attics.(Please click on each image for more information.)

This is something that can happen to anyone (see photos above)—an old corroded water shutoff in a basement ceiling leaked onto a storage shelf and into a box filled with old photos & family photo albums.

While briefly discussed in other blogs, here we’re expanding on this topic as there are in fact many potential disasters lurking in almost every basement, including:

leaky pipes / leaky water heaters / overflowing washing machines /

backed up laundry drains / malfunctioning sump pumps / & more

All of these hazards are in addition to the constant and potentially damaging temperature & humidity fluctuations that plague most basements. The lower the temperature the longer your items will last, because cooler temperatures slow the rate of chemical decay and reduce insect activity. Keep the temperature below 75 degrees Fahrenheit (F).

Yet the basement is not the only household storage area that can harbor threats to old photos, heirlooms, wedding dresses & textiles, books, and even archival boxes specifically made to preserve such collections & artifacts (see photo below).

This archival Drop Front Box, stored in an attic, suffered the results of a leaky roof gable. Yet water damage is just one of the potential threats posed by attic storage.

In addition to the significant temperature and humidity fluctuations that, like basements, characterize most attics, on occasion other hazards exist—as in the case above that was caused by a family of bats.

Here a large, archivally matted and framed photograph has been exposed to bat excrement. Fortunately the frame and its glazing protected this print, which was subsequently removed from its frame and stored in the archival ensemble shown below:

1. large original fine art photograph 2. sheet of 4-ply Museum Board under the print as a backing board for added support 3. large resealable Crystal Clear Bag to hold the print and its backing board 4a. large Drop Front Box, now stored in a hallway closet and not in an attic or basement4b. top of Drop Front Box (Please click on the image for more information.)

Old Photos & Family Heirlooms: Best Practices for Archival Storage

The “best practice” for handling important old photos, heirlooms and family archive materials is get them out of basements and attics as soon as possible and store them in the types of boxes & enclosures shown below. Once archivally secure, place these materials on a shelf or in a closet in your “living space” where the risks of water damage and wide temperature & humidity swings are significantly reduced.

(Please click on each image for more information.)

For family photo albums, consider placing them inPolyethylene Bags and then into Drop Front Boxes, which come in an assortment of sizes / colors and depths to match your tastes and the decor of your living space (see photos above).

For wedding dresses, old textiles, quilts, military uniforms and baby clothes—which, unfortunately, are frequently stored in attics and basements—consider moving them to your living space in an all-in-oneTextile Storage Kit (see right-hand photo), and whatever assortment of additional Archival Boxes and Archival Tissues will best fit your needs.

(Please click on each image for more information.)

Many of us have saved old toys from our own or our kids’ childhood, or perhaps have a variety of antique Christmas ornaments in the family archive. These can be easily stored inPolyethylene Bags, cushioned with Archival Tissue, and then placed in appropriately-sized Metal Edge Boxes and Artifact Boxes. This “multi-layered” approach to archival storage offers the greatest protection for such heirlooms, all of which can then be safely stored within easy reach in one’s living space.

(Please click on each image for more information.)

Old magazines, newspapers and books occupy an important niche in many family archives or collections. To protect these artifacts and heirlooms consider all-in-one Newspaper & Magazine Storage Kits, which are available in a number of formats, and various sizes and styles of Polyethylene Bags, Enclosures, and Metal Edge Boxes to match the size and shape of your materials (see the photo below of these kits and boxes being correctly stored).

In closing, the broad categories above illustrate just a few of the many different types of old photos & family heirlooms that are often found in attics & basements. Combining the perfect archival product ensembles for your particular needs, and then storing these items in your “living space,” will offer the peace-of-mind of knowing that your materials are safe & sound for generations to come.

(Please click on the image for more information.)

If you would like more information on the archival storage and presentation products that are right for you, please contact us here at Archival Methods. We’re always there to help with any archiving, storage, or presentation questions you may have.

]]>https://www.archivalmethods.com/blog/old-photos-heirloom-storage/feed/1Archival Mounting | 4 Easy Steps for “Floating” an Image in a Mathttps://www.archivalmethods.com/blog/archival-mounting-floating/
https://www.archivalmethods.com/blog/archival-mounting-floating/#commentsFri, 16 Feb 2018 16:49:06 +0000https://www.archivalmethods.com/blog/?p=17934 Archival Mounting: 4 Easy Steps for “Floating” an Image in a Mat One of the more dynamic archival mounting techniques involves “floating” an image in the center of a window mat so that the entire piece can be seen. Here we’re going to cover 4 steps for accomplishing this by using […]

Archival Mounting: 4 Easy Steps for “Floating” an Image in a Mat

One of the more dynamic archival mounting techniques involves “floating” an image in the center of a window mat so that the entire piece can be seen. Here we’re going to cover 4 steps for accomplishing this by using acid-free Cut-Back Corners, which are often the preferred choice for such applications.

While we’re going to use the photograph above as an example throughout this blog, this elegant archival mounting technique can be used for just about any flat images or documents you may have in your art or photography portfolio / collection / or family archive, and with just a little practice it can be accomplished by anyone at home or in the studio.

Archival Mounting / Step 1: Measuring a Mat for “Floating” an Image

The photograph above measures 5 x 8″, and today we want to “float” the image in the center of an 11 x 14″ mat so that the entire photograph—including the borders which contain written notes—will be visible.

While you can choose any amount of space you’d like around your own images, in this example we wanted a relatively small 1/2″ around the entire photograph.

To arrive at the correct measurements for our mat’s window, we simply added 1/2″ to each side / the top & bottom of our original 5 x 8″ size to come up with a mat window that measured 6 x 9″, all of which was easily entered into the Custom Mat Cutting template on the Archival Methods website to order the museum-quality / precision-cut mat we’ll be using in this demonstration.

Archival Mounting / Step 2: Positioning a “Floating” Image in a Mat

In addition to the Cut-Back Corners we’ll be using to “float” this image, we’ll need the following:1. the expertly-cut hinged mat we ordered in the step above2. our image (as a stand in for whatever you’d like to mount)3. a sheet of clean paper and scissors4. a roughly 4 x 4″ square of paper cut from this larger sheet5. a clean can of cat food or tuna fish (preferably with a rounded bottom)

Once we had our mat in hand, the first step in “floating” this image was to simply close the mat and place the image in the approximate center of the mat’s window. It could then be gently moved left & right and up & down until it appeared to be exactly in the middle, a process that can often be done “by eye.” You can use a clean ruler to check your positioning, but just be careful not to let the ruler touch the mat as it might accidentally ding or mar it.

With an image that does not lay flat, as is the case here, get the image roughly positioned and then go to the next steps that include a DIY (do-it-yourself) “matting weight,” as doing so will often flatten the image out a bit while still allowing you to make precise position adjustments.

Before placing a DIY matting weight on top of our image we took a sheet of paper and cut a roughly 4 x 4″ square from it, and then folded the edges up on all four corners of this square (see red box above).

While being careful not to move the now-perfectly-centered photograph, we then gently placed this sheet of paper on top of the image, as shown.

A can of cat food or tuna fish in the center of our image will keep it from moving while applying mounting corners, a sheet of which is on the left. (Please click on the image for more information.)

While there are professionally-produced matting weights available out in the world, a DIY solution using a short can of cat food or tuna (the cans with the rounded edges on the bottom are best) works just as well to keep our image exactly where we had positioned it ahead placing our mounting corners.

Archival Mounting / Step 3: Know Your Mounting Corners

(Please click on either image for more information.)

As shown above, there are essentially two styles of mounting corners available: a Standard Corner and a Cut-Back Corner. Here we’re going to use Cut-Back Corners, as they’re perfect for “floating” our image in the center of its mat, and it will allow us to see as much of the image as possible while providing a strong & secure—yet completely removable—archival mounting solution.

“Practice makes perfect” when it comes to using either of these types of mounting corners, so work through the following steps with some scrap paper and mat board before you attempt to mount an actual piece in the expertly-made mat you may have just ordered.

There are two things to note in this photograph of a Cut-Back Corner that is ready to be used to mount our photograph.

First, notice that the corner is stuck onto the very end of the fingertip with the smallest amount of contact between the finger and the corner. This will keep as much of the corner’s adhesive “clean” and free of finger oils that are present even on the most well-washed hands. It will also keep fingerprint impressions off the adhesive at the edges of the corner where they might be noticeable in the finished matted piece.

Secondly, the smaller triangle below the corner is the extra material left over from die-cutting when the corner was made. This needs to be removed from a Cut-Back Corner and discarded before we attempt to place the corner on the piece being mounted (this is not an issue when using Standard Mounting Corners).

With either a Standard Corner or a Cut-Back Corner, it’s helpful to gently “open” the corner a bit ahead of its placement on your piece. Sometimes gently squeezing it between your thumb and forefinger on the two non-open sides of the corner will suffice, but if you’re having difficulty with this then try sliding a small sheet of paper into the corner (and then removing it) ahead of placing the corner on your piece. As mentioned, “practice makes perfect.”

Archival Mounting / Step 4: Applying Mounting Corners

After checking once again that our image is exactly centered, we’re applying a gentle pressure to the can in the center of the image to keep it from moving and then lifting up one corner of the image with a finger to slide our mounting corner into place. Then we’re using our thumb and forefinger—as shown—to hold the corner square against both the top and side of the image as we gently lower it down onto the mat’s backing board. There is no need to press the corner down firmly at this stage—we’ll address that in a moment—as gentle pressure should be enough to keep our image and its corner in place.

Since both Standard and Cut-Back Corners employ permanent adhesives that are very sticky, removing a misplaced corner can be a challenge, so getting your corners positioned correctly the first time is important (as mentioned, practice with scrap paper & mat board ahead of time).

A well-positioned Cut-Back Corner, evenly spaced within the mat & square with the mat’s corner.

Also be mindful of any image movement during this process. If your image has moved then remove the mounting corner your currently working with from the image before it comes into contact with the backing board, discard that corner, and start over by removing the can of cat food and cover paper and repositioning your image.

Once we have the first corner in place there is still the opportunity to check our print’s alignment within the mat and to make small adjustments, but once we have two or more mounting corners in place this becomes more difficult.

With all four mounting corners in place, we’ve gently removed the can and cover paper—we had folded the corners of this paper sheet up earlier to make this step easier—and our image is squarely mounted, with no indentation from the can because we used the right amount of gentle pressure on it (and it had a rounded bottom).

A sheet of paper over our image and its corners will keep residual finger oils off of them as we’re applying pressure. (Please click on the image for more information.)

At this point we’ve opened the mat, after making sure that the front of the window will be resting on a clean / dry surface. We’ve placed a full sheet of paper over our mounted image as shown above and then applied moderately firm pressure on each mounting corner (red X‘s above) to ensure good adhesion to the mat’s backing board. There is no need to burnish the corners down, as Archival Methods’ Mounting Corners will stay in place for the long term.

When finished we have a professional-looking / museum-quality archival mounting presentation that will withstand the test of time, all while allowing us to easily remove the image by simply flexing it slightly until it pops out of its corner, with no need to try and remove the mounting corner itself.

The end result of this type of archival mounting procedure—which works for both “floated” images and standard behind-the-mat-window mounting—is a clean, accurately-positioned piece that is ready for placement in a fine portfolio or the frame of our choice.

Got additional questions? Call or email us here at Archival Methods for all the answers!

]]>https://www.archivalmethods.com/blog/archival-mounting-floating/feed/2Scanning Photographs | Why these 8 Steps for Family Archiving are Important!https://www.archivalmethods.com/blog/scanning-photographs/
https://www.archivalmethods.com/blog/scanning-photographs/#respondFri, 26 Jan 2018 15:15:30 +0000https://www.archivalmethods.com/blog/?p=17572 Scanning Photographs: Why these 8 Steps for Family Archiving are Important! The answers to the questions posed in the photo above are in fact some of the most important things you can do when it comes to family history . . . . . . scanning photographs, old & new […]

There are many easy-to-use scanners available these days (please see the links at the end of this blog), and scanning can provide you with invaluable ways to know more about—and preserve—your family photos / albums / 35mm slides / even cherished family recipes.

So, here are 8 different ways scanning photographs + archival storage can benefit your family history (and that of future generations!).

1. Large or Fragile Images

The large 11 x 14″ antique photograph above and below shows “the old family homestead” during the 1870s. This one-of-a-kind image was mounted to a sheet of non-acid free board which has now become brittle with age (see the upper right-hand corner, where part of the mount has broken off).

By scanning this image ahead of archivally storing it, it is now possible to enlarge sections to help identify specific family members and other such details. You can also print copies of this image for your photo album, or to email to other family members for their own collections or for help in identifying who’s who / what’s what / and when’s when.

All this made possible by using the scan while the fragile original photograph shown above is safely nestled in a resealable Crystal Clear Bag with a sheet of 2-Ply Acid-Free Museum Board placed under it for support, and then placed with other large family photos in an economical 3″ deep Drop Front Box, all of which will provide a safe, archival environment for decades to come.

2. Tintypes & Other Small Photos

19th century tintypes are traditionally rather dark and small. By scanning them it is possible to brighten the scans for clarity (see photos above).

Scanning photographs also allows you to make various temporary tone adjustments, making otherwise illegible information written on the back much easier to read. It also allows you to enlarge them to reveal dramatic detail that is otherwise lost in small format images like tintypes and snapshots.

Scanning will allow you to name and organize your photographs however you’d like. You can create computer files based on family relations (mom’s family / dad’s family / etc.); by era (19th century / 1950s / etc.); or by type of photograph (tintypes / snapshots / 35mm slide images / photo album pages / etc.), an example of which is shown above.

As mentioned, after scanning you can archivally store the originals to reduce the amount of handling they endure. Using tintypes as an example, above are some ways that small photographs and snapshots can be stored for both safe long-term preservation and for easy access (from top left):

3. Reviving Negatives

Scanning can give you access to otherwise undiscovered or unseen negatives—that don’t have corresponding prints—that you might come across in your family archive. The images above are of a black & white negative from the 1930s and a color negative from the 1960s that were scanned and then reversed using easy-to-use software that came with the scanner.

4. Unlocking Treasures in 35mm Slides

35mm slides often hold unique images that were not captured or printed as standard snapshots.

Many inexpensive scanners now come with various templates or holders that will allow you to scan both 35mm slides and strips of black & white or color negatives (see bottom left photo above). This will allow you to unlock the secrets of these otherwise hidden treasure troves of family history.

5. Photos Buried in Albums

This is one of my all-time favorite family photographs! Yet it has been buried for decades between the pages of a photo album. The solution? Scanning photographs from your albums will allow you to print them out and frame them / share them / add them to your own family photo albums, all while protecting the original albums (see photos below).

6. Identification, Now & Forever

Pictured above is one of the unique benefits of scanning photographs. This large, fragile image was scanned in two sections due to its size and seamlessly “stitched” together by software that came with the scanner. This allowed for the print’s storage in either a Polyethylene Bag or Crystal Clear Bag—with a 2-Ply Museum Board backing for support—in a Drop Front Box.

With the photograph scanned, a copy was made (on acid-free Archival Paper, of course) that includes a numbered key to “who’s who” in the photograph (see bottom right photo), an identification made possible by simply asking grandma—the only person who actually knows because she’s in this 70+ year old photo.

7. It’s NOT Just for Photos!

While we’ve been discussing the value of scanning photographs throughout this blog, the same procedures can be used for all sorts of family letters / genealogy records / important documents / even cherished family recipes!

In the left-hand photo above, this well-used family recipe book is literally falling apart. By scanning the important recipes within, they can be printed out (see center photo of a scan, complete with old cooking stains!) / placed in protective Print Pages in a variety of different types of binders (see right-hand photo) / and then used over and over again by family members who were emailed copies of their own favorite recipes.

8. Backing Up(!)

Returning to the photograph at the top of this blog, you can now see how scanning your photographs allows you access to all sorts of otherwise hidden / difficult to find / or fragile images and documents, the originals of which can be archivally stored while you work with and enjoy the scans you’ve placed on your computer—and backed up in the cloud or on an external hard drive or thumb drive (see center image above).

In fact, we included this photo of a thumb drive at the very beginning of this blog, and again above, as it’s very important to back up your files when scanning photographs or documents (see the link below), and even your backups can be organized & safely stored, completing the circle of 1. archivally stored originals; 2. easy-to-access scans; and 3. safely stored backups (see the USB & Memory Card Storage Kit on the far right above).

In closing, we hope you’ll call or email us here at Archival Methods with any additional question you may have on preserving photographs in your family archive, and please take a look at the following blogs and third-party websites for more information on caring for your photographs.

Click here to see our American Family Archives series of blogs on archivally storing everything(!)

These two new archival binders offer the same solid design, locking slant-style D-ring hardware, and quality construction of our standard Collector Grade Binders, and each is built—one at a time, by hand!—in our own on-premises facility right here in the USA (see photo above).

NEW Archival Binders: Binder with Tab & Slipcase

Binder with Tab & Slipcase. (Please click on the image for more information.)

We’ve taken our signature Collector Grade 3-Ring Binder & Slipcase and added a convenient pull-tab to the bottom of each of these museum-quality archival binders to make access to your materials both quick & safe.

Strong & sturdy LOCKING D-ring hardware in 1-1/2″ and 2-1/2″ sizes will secure your pages in place. D-rings hold more pages than cheaply-made “office supply store binder” O-rings, and make page-turning easier. (Please click on the image for more information.)

The binders themselves are available in our popular 1.5″ and 2.5″ ring sizes (see photo above), and will hold pages up to 10-1/2″ x 11-3/4″ to accommodate your choice of storage pages for prints, photographs, and 35mm slides. They are wrapped in library-grade buckram and are available in four rich colors—Black / Red / Navy Blue / Forest Green—accompanied by a hand-made slipcase wrapped in black buckram (see photo below).

Slipcases are often recommended to help protect archival binders and their contents from dust, moisture and environmental pollutants, all while adding a unique sophistication to your shelves. Our new pull-tab allows you to easily remove your binder from its slipcase while still on the shelf, and will remain unobtrusive once your binder is open (see photo above).

Each pull-tab is precision-cut with our state-of-the-art computerized equipment from the same strong yet elegant fabric that wraps each binder (see photo above).

These pull-tabs are then riveted (not glued!) in place to guarantee a robust, secure, trouble-free attachment to each binder (see photo above).

Built to last, these unique binders will give you years—even decades!—of dependable service. If you’re looking to safely store your materials with the peace-of-mind offered by high-quality archival binders, coupled with the easy access & convenience of a pull-tab, then look no further than Archival Methods’ new Binder with Tab & Slipcase!

NEW Archival Binders: Collector Grade Legal Binder

Placing important legal-sized documents or collectibles in a standard letter-sized office supply store binder (on left) just won’t do for ANY type of archival storage or ANY type of presentation, so we went ahead and created our new Collector Grade Legal Binder (on right). (Please click on the image for more information.)

Once again using our trusted & widely-popular Collector Grade Binders as a model, we’ve designed these new archival binders to safely accommodate legal-sized 8-1/2 x 14″ documents and pages.

Collector Grade Legal Binders measure 14-3/4 x 12″ with a 2-1/2″ spine. Securely riveted to this spine is a high-quality 1-1/2″ slant-style D-ring hardware assembly, with a tab-actuated locking mechanism to prevent your materials from accidentally falling out. The 3-ring assembly is centered in the binder, and is designed to accommodate any legal sized documents or pages with standard 3-hole spacing.

Since Archival Methods builds each of its high-quality binders in our own facility, we’re able to offer professional custom imprinting—in many different colors and finishes—on any of of these in-house products. Please contact us to discuss your particular needs, as we’d be happy to walk you through the process and provide you with a quote.

In closing, when it comes to sophisticated yet strong & easy-to-use binders, Archival Methods offers a wide range of museum-quality solutions including our new Binder with Tab & Slipcase (on left) and our Collector Grade Legal Binder (on right). Your important or valuable materials—whatever they they may be!—will be safely protected and yet remain easily accessible during both long-term storage and day-to-day use in each of these professional-grade archival binders.

(Please click on the image for more information.)

If you would like more information on the archival storage and presentation materials that are right for you, please contact us here at Archival Methods. We’re always there to help with any archiving, storage, or presentation questions you may have.

We would also like to encourage you to follow us on Instagram, Twitter, Facebook and Pinterest for up-to-the-minute information and links to stories of interest.

]]>https://www.archivalmethods.com/blog/archival-binders-new-designs/feed/0Tintypes | 5 Steps to Archivally Preserve YOUR Family Photographshttps://www.archivalmethods.com/blog/tintypes-archival-preservation/
https://www.archivalmethods.com/blog/tintypes-archival-preservation/#commentsFri, 12 Jan 2018 18:08:15 +0000https://www.archivalmethods.com/blog/?p=17195 Tintypes: 5 Steps to Archivally Preserve YOUR Family Photographs Have you ever wondered about those curious photographs in your family archive that appear to be printed on a thin sheet of metal? Well, these are tintypes, a popular 19th-century photographic process—actually on a piece of lacquered iron, not […]

Tintypes: 5 Steps to Archivally Preserve YOUR Family Photographs

Have you ever wondered about those curious photographs in your family archive that appear to be printed on a thin sheet of metal?

Well, these are tintypes, a popular 19th-century photographic process—actually on a piece of lacquered iron, not tin—used extensively for studio portraiture (see photos above & below), as well as for occasional exterior photographs (see photos at the end of this blog).

“Sixth plate”-sized tintype portraits were most often unmounted (left image).Some smaller & “gem” tintypes (see the center image in the photo on the right) were mounted in small paper mats.

While seemingly “standard” poses were common, tintypes also often captured the “essence” or “personality” of the sitter in unique ways (see photos above) . . .

So, with that short introduction, let’s look at 5 quick steps to archivally preserve your tintypes!

Preserving Tintypes / Step 1: Scanning

Uncut tintype plates measured 6.5 x 8.5-inches and were most often cut up prior to sensitizing with photographic chemicals to yield smaller-sized plates: the common “sixth plate” (on left above) was created from a full plate that had been cut into six smaller sheets / a larger “quarter plate” (on right above) was created from a full plate that had been cut into four smaller sheets, and so on.

Each of these sizes can be readily accommodated in a number of museum-quality archival materials (explained below), but we recommend scanning them first.

This is a scan of a sixth plate family tintype in a paper mat, with coins added to provide a sense of actual size & scale.

Scanning these wonderful family treasures will allow you to print & work with the scan while safely—and archivally!—storing the original.

While small (see photo above), the tintype process often yielded a tremendous amount of detail, which will allow you to enlarge and print scans for your photo album and to share with relatives (see photo below).

Detail (and personality!) is sometimes lost in rather small tintypes. Scanning allows you to enlarge and share these irreplaceable images. Note the hand-applied tinting to the cheeks of these two boys.

If there is information on the back of your tintypes, consider scanning that too (see photos below), as temporarily adjusting contrast & color settings might make otherwise unreadable information much clearer.

The original scan on the left, and this same scan adjusted to reveal clearer identification information.

Preserving Tintypes / Step 2: Safe Archival Storage

(Please click on the image for more information.)

One of the best and most convenient archival enclosures for protecting your one-of-a-kind tintypes is the HD (High Density) Poly Envelope, which is available in sizes that perfectly fit a variety of tintype formats (see photos above & below).

(Please click on either image for more information.)

These inexpensive museum-quality enclosures will help prevent dust, finger oils or moisture from coming into contact with your images during handling & storage. They’re also translucent, which will allow you to quickly & easily find any particular image you’re looking for. Lastly, storing your tintypes in archival enclosures is important as these thin metal plates sometimes have bent corners or edges that can scratch adjacent images if they’re not otherwise separated and protected.

(Please click on the image for more information.)

If storing a number of family or collectible tintypes, you can organize groups of them in Open End Envelopes (see photos above & below).

An entire family’s worth of 19th-century tintypes and other photographs can be organized & stored in ONE convenient place, with identification information written on individual envelopes & index dividers: 1. individual images are placed in HD Poly Envelopes2. groups of images can be organized any way you’d like 3. your groupings of images can then be placed in an individual Open End Envelope4. these envelopes can be placed in an acid-free Metal Edge Box 5. groups of images can be separated with Acid-Free Index Dividers, which can be cut to whatever size you need

(Please click on the image for more information.)

Another way to store your one-of-a-kind tintypes is to place them in Crystal Clear Bags with a sheet of Acid-Free Card Stock added for additional rigidity and support (see photo above). You can also write important identification information on these sheets of card stock with an archivally-safe pencil or marker (more on that below).

(Please click on the image for more information.)

As mentioned, tintypes come in a variety of sizes and formats, and are occasionally found in elaborate 19th-century cases. In the photo above, the large quarter plate tintype is lying on top of an archivally-safe Polyethylene Bag, which fits it perfectly (the pair of glasses and smaller tintypes were added for scale). These bags come in a variety of sizes, and are the ideal solution for protecting cased images.

Preserving Tintypes / Step 3: Creating an Archivally-Safe Album

(Please click on the image for more information.)

You can also integrate your irreplaceable family or collectible tintypes into your photo albums by placing them in Print Pages (see photos above & below). Note that a pre-cut sheet of Acid-Free Card Stock has been added to each Print Page pocket for added stability and support.

(Please click on either image for more information.)

These Print Pages can then be placed in an archivally-safe Collector Grade Binder, which is hand-built (in the USA!) of archival materials you won’t find in any cheap office supply store binders.

Preserving Tintypes / Step 4: Protecting Antique Albums

There were a number of different 19th-century album designs that accommodated tintypes. If you have one of these, consider scanning the images within and then archivally storing the actual album (see photos above & below).

Preserving Tintypes / Step 5: Matting & Framing

A large tintype in an elegant 8-ply acid-free mat (on left) ahead of framing it.(Please click on each image for more information.)

Some tintypes just need to be archivally matted and framed to be enjoyed every day!

If you’re thinking of doing this, consider using an 8-ply mat (see photo above) rather than a “standard” 4-ply mat, as tintypes have a certain depth—especially if they have subtle bends in them—and you don’t want the image surface to come into contact with the frame’s glass or glazing (please click here for information on our mat board sample kit, which includes samples of all of our mat board colors & thicknesses).

In the photo on the left the large quarter plate tintype is being “floated” in the center of the mat in order to show the entire plate. This is easy to do yourself with Double Sided Mounting Tape or Squares.

Preserving Tintypes: An Additional Gallery of Wonderful Images!

Four family members or friends photographed in various poses & configurations during a single sitting. Very cool!

In closing, we hope you’ll contact us here at Archival Methods if you have any additional question on how best to preserve and share your family or collectible tintypes. Our experienced staff has all the answers you’re looking for, and these unique images deserve only the finest in archival care!

Lastly, for more information on tintypes from the Image Permanence Institute’s Graphics Atlas, please click here.

]]>https://www.archivalmethods.com/blog/tintypes-archival-preservation/feed/6Cabinet Cards & Cartes-de-Visite | 5 Steps to Archivally Preserve YOUR Family Photographshttps://www.archivalmethods.com/blog/cabinet-cards-carte-de-visite/
https://www.archivalmethods.com/blog/cabinet-cards-carte-de-visite/#commentsFri, 12 Jan 2018 18:05:35 +0000https://www.archivalmethods.com/blog/?p=17642 Cabinet Cards & Cartes-de-Visite: 5 Steps to Archivally Preserve YOUR Family Photographs Two of the most popular forms of 19th century photography you may have in your family archive are cabinet cards and cartes-de-visite (the latter is French for “visiting cards,” and will be shortened to cartes throughout […]

Cabinet Cards & Cartes-de-Visite:

5 Steps to Archivally Preserve YOUR Family Photographs

Each of the 8 smaller cards on the left are known individually as a carte-de-visite, while the 4 larger cards on the right are cabinet cards. The eyeglasses at the top and the pencil at the bottom of this photo were added to lend a sense of scale to these images.

Two of the most popular forms of 19th century photography you may have in your family archive are cabinet cards and cartes-de-visite (the latter is French for “visiting cards,” and will be shortened to cartes throughout this blog for the sake of convenience).

Formal photographic portraits in these two formats were quite the craze in the years before the introduction of amateur cameras. Created by local professional photographers, individuals would often order multiple copies of these wonderful images for distribution to family and friends when visiting.

The small carte-de-visite was introduced in France—thus its French name—and was hugely popular on both sides of the Atlantic between roughly 1859 and the early 1870s. It was eventually supplanted by the larger cabinet card beginning the 187os, finally disappearing with the advent of inexpensive Brownie cameras and other forms of amateur snapshot photography around the turn of the 20th century.

Various styles of the carte-de-visite.

Various styles of cabinet cards.

So, with this short introduction, let’s take a look at our 5 steps for archivally preserving these photographic records of your family history.

Cabinet Cards & Cartes-de-Visite / Step 1: Scanning

Both of these types of images can be archivally stored in a number of museum-quality acid-free materials, but we recommend scanning them first.

Most inexpensive desktop scanners will accommodate up to 4-5 cartes or 2 cabinet cards per scan, which will allow you to scan multiple images at the same time.

Scanning your cartes and cabinet cards will allow you to print & work with a high-quality scan instead of the often one-of-a-kind original photograph, which you’ll be archivally storing in the steps below.

Not only are cartes relatively small, the actual image in this particular example is even smaller, as the studio photographer printed what seems to be a horizontally posed image in the traditional vertical configuration of most cartes. The coins were added to this scan to provide a sense of just how small this image really is.

While cabinet cards are the larger of the two formats we’re discussing, even the smaller cartes hold a tremendous amount of photographic detail, which will allow you to enlarge and print scans of even the smallest images for your photo album and to share with relatives (see photos above & below).

See what I mean? Tons of detail – and personality! – that would otherwise be lost without scanning.

If there is information written or printed on the back of your cartes or cabinet cards, consider scanning it too, as this information may help you to discover who’s who in your photographs (see photos below).

There are two pieces of valuable family information contained on the front & back of this cabinet card (see blue boxes). Not only are these two children identified (right image), but since cabinet cards were most often created locally it’s a fair guess that these two girls lived in or near South Oil City, Pennsylvania (left image) when this photo was taken by photographer J.W. Sires.

The backs of various cartes-de-visite from Illinois / Iowa / and even Germany. While no specific family names were written on any of these cards, the towns listed can suggest clues to who’s who if one knows where particular family members once lived.

Cabinet Cards & Cartes-de-Visite / Step 2: Safe Archival Storage

(Please click on each image for more information.)

The use of various inexpensive acid-free enclosures will help prevent dust, finger oils or moisture from coming into contact with your images during handling & storage (see photos above & below). The clear 3-1/2 x 5-1/2″ Polyethylene Bags on the left let you see your cartes for quick location and identification, while the Open End Envelopes on the right (4 x 5″ for cartes / 5 x 7″ for cabinet cards) will allow you to easily write identifying information on the envelope itself.

Another way to store these one-of-a-kind images is to place them in Crystal Clear Bags with a sheet of Acid-Free Card Stock added for additional rigidity and support (4-1/4 x 6-1/8” for cartes and 5-1/4 x 7-1/8” for cabinet cards, see photo above). You can also write important identification information on these sheets of card stock with an archivally-safe pencil or marker (more on that coming up).

With your photographs securely stored in archival enclosures, they can then be placed in acid free boxes for both easy access and safe long-term storage (see photo below).

ALL of your 19th-century cabinet cards / cartes-de-visite / tintypes / postcards / and other photographs can be organized & stored in convenient museum-quality enclosures and acid-free boxes.1. individual cabinet cards (on left) or cartes (on right) can be placed in archival 5×7″ or 4×5″ Open End Envelopes2. these envelopes can be placed in an acid-free Hinged Lid Box (5×7″ on left or 4×5″ on right)3. alternatively, your images can be placed in Crystal Clear Bags with a sheet of Acid-Free Card Stock for backing4. then placed in either a 4×6″ (not shown) or 5×8″ Short Top Box, depending on what size images you’re storing

You can also integrate your irreplaceable cartes and cabinet cards into your photo albums by placing them in Print Pages (see photos above & below). Note that a pre-cut sheet of Acid-Free Card Stock has been added to each Print Page pocket for added stability and support, and to allow you to place two images in each page pocket (one on each side of the page).

Print Pages shown placed in our top-of-the-line Collector Grade Binder, which is available in 4 colors and with or without a slipcase. (Please click on the image for more information.)

Cabinet Cards & Cartes-de-Visite / Step 4: Protecting Antique Albums

There were a number of different 19th-century album designs that accommodated cabinet cards and cartes. If you have one of these, consider scanning the images within and then archivally storing the actual album (see photos above & below).

Cabinet Cards & Cartes-de-Visite / Step 5: Matting & Framing

A hand-tinted cabinet card in an elegant 8-ply acid-free mat (on left) ahead of framing it.(Please click on each image for more information.)

If you have a particular image that should be archivally matted and framed to be enjoyed every day, consider using an 8-ply mat (see photo above) rather than a “standard” 4-ply mat, as photographs on cards have a certain depth and you don’t want the image surface to come into contact with the frame’s glass or glazing (please click here for information on our mat board sample kit, which includes samples of all of our mat board colors & thicknesses).

In closing, we hope you’ll contact us here at Archival Methods if you have any additional question on how best to preserve and share your family or collectible cartes-de-visite and cabinet cards. Our experienced staff has all the answers you’re looking for, and these unique images deserve only the finest in archival care!

Lastly, please click here for more information on cartes-de-visite, and click here to learn more about cabinet cards.

]]>https://www.archivalmethods.com/blog/cabinet-cards-carte-de-visite/feed/2Light Damage – Protecting Framed Artwork | Photographs | Collectionshttps://www.archivalmethods.com/blog/preventing-light-damage/
https://www.archivalmethods.com/blog/preventing-light-damage/#commentsFri, 05 Jan 2018 14:32:04 +0000https://www.archivalmethods.com/blog/?p=17055 Light Damage: Protecting Framed Artwork / Photographs / Collections While in the midst of working on blogs covering a completely different topic, we recently came across truly stunning examples of the significant & immediate threat caused by light damage. We’re sharing some of the photos we took of this light damage in the […]

Light Damage: Protecting Framed Artwork / Photographs / Collections

Note the vibrant colors of the “All America” athletic certificates on the right. Now compare them to those directly under the florescent light in the center: in these the reds have disappeared / the ink signatures have faded / even the brown simulated-wood frames have been dramatically affected – all due to light damage.

While in the midst of working on blogs covering a completely different topic, we recently came across truly stunning examples of the significant & immediate threat caused by light damage. We’re sharing some of the photos we took of this light damage in the hope of preventing it from affecting your framed artwork, photographs, & collections.

Identical examples of All America certificates that graphically illustrate the different degrees of light damage caused by their relative proximity to florescent light sources.

If the light damage affecting these All America certificates wasn’t enough, we also came across this recently:

These are identical poster-sized reproductions of a painting entitled “Queen of Hearts” by artist Ramon Santiago. The “blue” version in the frame is suffering from extensive light damage caused by florescent lighting. The unframed “red” version of this same poster has been stored for decades in an archival storage box, and is as fresh & vibrant today as it was when these posters first came off the press in 1988. (Please click on the image for more information.)

Archival Methods has in fact devoted an earlier blog to light damage (see the link at the bottom of this post), so why update it here?

The reason is simple: rarely have we come across examples of this damage that are so clearly evident—a condition that may be affecting parts of YOUR family archives or collections as you read this—a condition that can cause permanent damage and yet is almost completely avoidable.

Even the once-bold ink signature and dedication on the framed “Queen of Hearts” poster has faded due to light damage. Using ultraviolet light-filtering picture frame glazing such as Acrylite OP-3 would have helped to mitigate this damage – see below. (Please click on the image for more information.)

Preventing Light Damage: Causes & Solutions

The majority of light damage is caused by ultraviolet (UV) light.

UV light is present in sunlight (this is the cause of sun-damaged curtains and upholstery fabrics), and in florescent light as discussed above.

Yet preventing this sort of damage is a relatively simple 2-step process.

Preventing Light Damage: Step 1 – Avoid the Source

These two framed Santiago posters (the faded “Queen of Hearts” is on the right) have been hung on a wall that is NOT exposed to direct sunlight coming through ANY windows in this office, including the window on the left. Instead, the REAL culprits in the destruction of these works are the florescent lights on the ceiling – the reflections of which can be seen as white bands in the glass of each framed work.

The first and easiest way to avoid UV light exposure is to keep your framed photographs, artwork or documents out of harm’s way by placing them on walls or shelves where they will not be exposed to sunlight through windows or skylights, or to overhead florescent lighting (see photo above).

Preventing Light Damage: Step 2 – Use Filtration

Even if you are diligent about “avoiding the source,” it’s often a good idea to also use “filtration.”

While there are a number sleeves and diffusers that will filter UV light emitted by florescent bulbs, these are generally cumbersome and expensive. As an alternative, using a UV-filtering glazing such as Acrylite OP-3 instead of glass will protect framed works by filtering out 98% of UV light (see photo above).

Complete Frame Kits include a sheet of UV-safe Acrylite OP-3 glazing.(Please click on either image for more information.)

Acrylite OP-3 is available in precut sheets in 16 standard sizes, from 8 x 10″ up to 30 x 40″, and is perfect for protecting both vintage and contemporary artwork & artifacts from light damage (see photos above).

Gallery 12 Wood Frames. (Please click on either image for more information.)

Preventing Light Damage: Final Thoughts & Other Resources

Various posters, including the pristine copy of “Queen of Hearts” shown towards the top of this blog, are being stored by their owner in individual Crystal Clear Bags with a sheet of 2-Ply Museum Board added for structural stability and support. These were then placed together in an Archival Corrugated Drop Side Box, which will easily accommodate larger works. (Please click on the image for more information.)

In closing, perhaps the best way to prevent light damage is to store your artwork, photographs and other such materials in a cool / dry / dark area or closet in your “living space” (i.e. not in your attic or basement) in appropriately-sized archival enclosures and boxes (see photo above).

Yet if you’re planning on displaying some of your materials, as most of us are, always use acid-free mats & the right picture frames / avoid direct sunlight & exposure to florescent lighting / and consider using a UV-filtering glazing such as Acrylite OP-3.

We hope you’ll take a moment to visit our related blog and short video on preventing light damage by clicking on the images below, and will contact us here at Archival Methods for friendly, expert advice should you have any additional questions.

(Please click on the image to see our short video on Gallery 12 Wood Frames that each come with Acrylite OP-3 glazing.)

(Please click on the image to see our previous illustrated blog on Light Damage.)

Lastly, for a short summary on light damage from the Library of Congress, please click here.

]]>https://www.archivalmethods.com/blog/preventing-light-damage/feed/2Preserving Photographs | 5 Steps to Rescue Snapshots from Old Family Displayshttps://www.archivalmethods.com/blog/preserving-photographs-family-displays/
https://www.archivalmethods.com/blog/preserving-photographs-family-displays/#respondTue, 02 Jan 2018 17:05:53 +0000https://www.archivalmethods.com/blog/?p=17509 Preserving Photographs:5 Steps to Rescue Snapshots from Old Family Displays Recently I was asked for advice from a friend who had come across a forgotten example of what is today perhaps the most common occurrence of “tape on your photographs”—the family snapshot display (see photos above). […]

Preserving Photographs:

5 Steps to Rescue Snapshots from Old Family Displays

Recently I was asked for advice from a friend who had come across a forgotten example of what is today perhaps the most common occurrence of “tape on your photographs”—the family snapshot display (see photos above).

This is definitely a job for a conservator!

Whether or not it’s wise for you to try and remove tape stuck to your photos depends on a host of factors involving both the tape and the type of photograph it’s adhered to. When in doubt, always consult a trained conservator, and for more information please see the list of additional resources at the bottom of this blog.

Today, however, we’re going to take a quick look at something you often can address yourself—preserving photographs taped onto homemade snapshot displays.

Step 1: Find Your Family Photo Displays

My friend put this display of ORIGINAL snapshots together five years ago for his wife’s birthday, and then stored it away. He used double sided thin foam squares with adhesive on each side that he bought at an office supply store (definitely NOT archival, and click here to see tapes that ARE archival). As shown, a number of these snapshots have already been lost, and the rest still stuck to the posterboard will have a thin residue of adhesive left on them when they’re eventually removed.

This sort of photo display is common at birthdays (see photos above), graduations, anniversaries, family reunions, and a host of other celebratory occasions or important events, even funerals (see photo below), and are sometimes kept assembled for sentimental reasons.

My sister’s kids made this snapshot display for our dad’s funeral. Unfortunately, the kids used original one-of-a-kind snapshots (instead of scanned copies) and masking tape (instead of mounting corners). It fell to me to get these images off the cardboard and back into albums.

The problem arises when the event is over, and we’re left with important photos and snapshots that were sometimes hastily adhered to cardboard or posterboard displays with doublestick tape, masking tape, even duct tape. They’re also frequently stored for years in attics or basements, where you’ll need to go find them.

Step 2: Remove the Tape (if Possible & Safe)

When it comes to preserving photographs, doublestick tape is often a challenge. It may peel off plastic-backed modern snapshots fairly easily, but not older paper-based photographs. When it doubt, leave it in place, and follow the procedures for covering adhesive residue discussed below.

Masking tape is often easier to remove if it was applied fairly recently, while older masking tape tends to “dry out” and is substantially more difficult to remove. Either way, it’s important to “cover up” any old adhesive residue left behind.

In the images above and below, the snapshot being used as an example has already been carefully removed from the cardboard display it was attached to, and placed face down on a clean, dry work surface. Exercise caution when removing your taped photographs from your display so as not to bend or tear them.

Note the “orientation” of the tape on the left. Pull it away from the photograph in the same direction in which it was applied (see red arrows).

In the right-hand image above, the tape is being pulled off the photograph in the direction matching its “orientation” by “peeling it back” rather than pulling it straight up (see the dotted red arrow at the top). The second piece of tape was also peeled off in the same direction it was applied (see the solid red arrow on the tape), all while securely holding the opposite edge of the snapshot with your free hand to provide some stability and leverage.

While not usually associated with preserving photographs, a regular hair dryer—set on low—can be used to gently warm the tape to make this step a bit easier.

Step 3: Address Any Adhesive Residue

Once as much tape as possible has been removed from the snapshot, you will probably notice a sticky adhesive residue on the back of the photograph. To address this simply cut a piece of acid-free Archival Paper or Archival Thin Paper slightly smaller than the image in order to place it over the back of your snapshot (see photos above). Adding this thin acid-free backing will keep the photo from sticking to the scanner you’ll use in the next step, or to the pages of the photo album or to the interior of any enclosure or sleeve in which you may wish to place it when finished.

Before placing the Archival Paper or Archival Thin Paper backing sheet, check for any important information that was written or printed on the back of the snapshot. In this case the light red Kodak stamp (see blue box) includes the date the image was printed: February, 1981 (see red arrow). This information can help you date the snapshot for future reference—and future generations—and is an important aspect of preserving photographs.

Step 4: Scanning

With its acid-free Archival Paper sheet in position—which is being held in place by the tape residue it’s covering—the snapshot on the left is ready to be scanned to create a digital file as a backup of the original, and to allow you to print additional copies or email to relatives.

In the image on the right, two snapshots were being scanned. The lower snapshot (the white rectangle) has it’s acid-free backing in place and stayed on the scanner platen when the top was opened after scanning. The upper snapshot does not have this backing, and the adhesive residue stuck it to the cover of the scanner. You’ll want to avoid this situation in your photo albums and enclosures.

Step 5: Archivally Store the Original

Our snapshot with its acid-free backing is in the lower right of the left-hand photo, ready for safe archival storage.(Please click on each image for more information.)

Once scanned, the snapshot is ready to be placed in a Print Page & album, or into an archival print storage kit (see photos above), both of which come highly recommended for preserving photographs. If creating an album, Print Pages will fit into any one of a number of different styles of archival binders (see photo below) to be safely stored and enjoyed for years to come.

Our new website offers many different views of each of the various archival 3-ring binders that are available for creating personalized photo albums. (Please click on the image for more information.)

At the end of the day, preserving photographs taped to your family displays is well worth the effort. And should the need arise to assemble another homemade photo display in the future, you can safely use printouts of your scans so you won’t have to worry about putting your originals in harm’s way ever again.

In closing, we hope you’ll call or email us here at Archival Methods with any additional question you may have on preserving photographs in your family archive. We also hope you’ll take a look at the following blogs and third-party websites for more information on tape & your photographs.

Please click here to see our blog on Conservators: Pros You Should Know

Please click here to see a response to Removing Tape from a Vintage Photograph from the Smithsonian Institution